As often as the passage of time successfully erodes the bounds of idealism whether or not it’d by default desiccate the muscle memory of dedicated craftsmanship is open to debate, in the case of Barcelona, Spain-based ‘old school’ death metal quartet Decapitated Christ time only seems to have aided the maturation process of their core sound, setting it under glass for nearly a decade between releases before returning for this, their best album to date. ‘Glorious Tyrannizing of Human Rats‘ may carry some readable inspiration taken from the old greats in its tributed exploration of 90’s death metal groove-and-slash but their work is yet amorphous, far from an exacting clone or scene-hound, instead its own sect which respects both the tenets and the variety available to bygone-era death metal the world over. A cumulative revision of intent in heightened fidelity and a sturdy brick atop their greater progression over time this LP is one for the variety seeking classicist first-and-foremost but eh, also just a cool-ass death metal album with plenty of its own ideas at the end of the day.

Decapitated Christ formed as a trio circa 2005 by way of guitarist/vocalist Ghorth, whom you might recognize from the last two Körgull the Exterminator records and drummer BlastHagel (who stuck around for their original run of four LPs) alongside folks who left before the band’s first demo/self-released album (‘Antikristian Extreme Dekapitation‘, 2008) had defined their style as classicist, influenced by a mix of Florida’s death metal originals (Morbid Angel, Deicide, et al.) and their reach into the late 90’s, or, that era’s focus on groove (think of Vomitory, Krabathor) while still keeping it brutal. Common comparisons for their first couple of albums would find mention alongside quick-footed bands like (early) Aeon and nearby Polish equivalents but this’d never been all that precise since the band’s sound would change with each release and never made too-direct references beyond cover songs. You wouldn’t have to necessarily leave the 90’s to describe ‘The Vanishment and Extermination of the Deities‘ (2010) though the basal thrust of their sound was beginning to explore mid-paced grooves more thoroughly on the way to their third LP (‘The Perishing Empire of Lies‘, 2013), a milestone in terms of getting broader notice, having gotten some big-name folks (Van Drunen, Sandoval) to guest spot on parts, and getting more eyes on their work. Back in the day this wasn’t a band I’d heard of during their original trilogy of releases, it wasn’t until they’d broken out of the deepest underground and signed to German label F.D.A. Records (Rekotz at the time, I think) that more folks took notice since we were all checking everything on that roster (next to Skeletal Remains) beyond 2012 or so.

We can kinda overlook the provenance available to those first three records if only because the first is somewhat hard to find online and the style of the band took a leap beyond those formative records beyond 2013, changing their core modus just enough to yield a different and far more polished result on their best remembered longplayer (‘Arcane Impurity Ceremonies‘, 2014). That fourth album was the inarguably peak of their original run, having disbanded in 2016 and reformed in 2020, and it came with notable inspiration taken from early 90’s Bolt Thrower in terms of its guitar work stepping up and their style reaching its most cohesive result. It was one of the better performances from then-vocalist Paingrinder (Onirophagous) who’d had his best showing on that album but didn’t return for this version of the band when they reformed in plague year MMXX. So, with nearly a full ten years separating Decapitated Christ from their last LP can we reasonably expect them to have picked up where they left off and nail it? As I’ve already suggested, they’ve not only succeeded but exceeded past work on ‘Glorious Tyrannizing of Human Rats‘.

Well, yeah, I mean there’ll be no alienation here for returning fandom as the ideas put forth back in 2014, the small breakthroughs and unique choices of that album, are echoed here in a much finer result. I would go as far as to say ‘Glorious Tyrannizing of Human Rats‘ leaves Decapitated Christ‘s past discography feeling a bit aimless compared to the all-around stronger return found herein. At the very least it should feel like Decapitated Christ‘d never left apart from a a new-but-similar vocalist and the rest of the returning lineup being better musicians/performers today. Of course many folks will notice some updated sound design/production values from longtime compatriots Javi Bastard of Moontower Studios, who has appeared on most and engineered all of their material, and mastering from Dan Swanö who has likewise been involved in each of the band’s releases beyond the first album. This yields a certain familiarity which has the guts of ‘Arcane Impurity Ceremonies‘, plenty of infernal mid-paced riffs with light use of keyboards scattered throughout, but doubly amplified work which still speaks to a mid-90’s underground ‘old school’ death metal aggression, allowing for a more dynamic render that doesn’t leave any one piece drowned out. If you’ve any sense of what I’ve been going on about thus far you’re probably not curious about the productions values so much as the riffs.

If you take a quick glance at the album cover artwork from bassist CesarCold you’ll see an Eldritch demon being yanked out to war as far as I can tell, and if you peek through the translucent skin of its wings there is a pair of missile-loaded tanks behind it, a clear enough sign that Decapitated Christ‘re still heavily inspired by the tread-hard roll of Bolt Thrower and their more melodic style of leads. There are a few big nods given to this idea throughout the length of ‘Glorious Tyrannizing of Human Rats‘ with most prominent example beyond the opening moments on the album (“Grief and Sorrow” and nearby) being standout piece “Assault on Ravaged Waste” deeper on Side B. The main reason I emphasize this isn’t so much mark a defining trait of the experience, although certainly a notable one, but rather to suggest that -this- is how to take a cue from a classic band in a worthy way and still do your own thing with it. Most of the album is infernal blasphemic ‘old school’ death metal otherwise, delivered at an extreme thrashing hustle with post-intro opener “Hunting Human Rats” setting a surreal yet blood-thirsted tone up front with a machined-at kick, not exactly ‘Ego Art‘-era Altar but giving off a similar feeling up front despite warmed-over atmosphere, and a few bursts of keys/synth before the song shreds at its lead.

For my own taste the rhythm guitars are strong throughout the full listen but don’t necessarily hit a point of authorship prone to strike at a true stick-to-your-ear phrase too often. Though each of the pieces leading up to “Inferi Ardentis Monarcha” have their moments the primarily a mid-paced jog n’ thrash of that particular song, which smacks of Mercyless‘ first album at times, would be the first piece to catch my ear beyond the short intro number. I figure most listeners won’t pull a double-take until “Luciferi Imperator Omnipoten” hits per its dramatic use of keyboards incorporating more naturally than the synth chorales of the piece before it, helping the otherwise punishing and higher riff-count piece to stand out. Otherwise the bulk of the record focuses on hammering away at thrashing death metal rhythms, developing some semi-melodic breaks, and I’d say cracking away at the best song-appropriate lead guitar work they’ve managed to date. Most of my favorite pieces int he lot beyond the opening song hit on Side B, specifically “Assault on Ravaged Waste” but also the mid-90’s Swedish death feeling pulse of “Infernal Red Machines” which closes the album.

Blasphemous, brutal energetic harass. — Decapitated Christ have managed to make the decade long wait for a fifth album a memorable event with this release, having generally improved everything about their craft while still sensibly picking it up where they’d left off. ‘Glorious Tyrannizing of Human Rats‘ has its idiosyncrasies and plenty of inspired nuance, great leads and all manner of deadly riffcraft, but most will know better than to head into this realm expecting an outright catchy experience and instead one which is custom built for the classics-minded death metal fan and bearing its own spin on the craft. A high recommendation.

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